The setting of this fantastic scene represents the hall of an old chateau in which a miser has locked up seven large bags containing his wealth. Satan, who has made his way into the chateau...
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The setting of this fantastic scene represents the hall of an old chateau in which a miser has locked up seven large bags containing his wealth. Satan, who has made his way into the chateau, puts the seven bags in a strong box, and makes with his hands some cabalistic motions. The miser comes into the hall and is greatly astonished to find his fortune missing. He opens the coffer and immediately the bags leap out. He gathers them up and puts them back into the coffer. When he opens it again he finds that they have been transformed into seven young girls, who rush out and chase after him, beating him unmercifully. They shut him up in the coffer from which his gold has vanished. The miser pushes open the lid of the coffer, and to his profound despair finds that both young girls and money have disappeared. (This view is most sensational in its mysterious scenes.) Written by
Star Film Catalog
Les Trésors de Satan - The Treasures of Satan - (1902) with a run time of 2.45 seconds.
Satan and his two minions toss seven bags into a cardboard coffin for safe keeping. They leave. Old thief breaks in and opens the coffin to steal the treasures, unaware that Satan still has powers controlling it.
The bags bounce up and down for several seconds, scaring him, until seven girls guarding the treasures jump out of coffin, and torment the goofball with spears. The coffin gets up and dances, scaring him even more. He momentarily runs from them and tries to jump into the coffin, which turns into Satan's two minions, still guarding the gold (or whatever the bloody hell was in the sacks)
The coffin reappears, the thief jumps into it and, in a surprisingly grisly twist, it bursts into flames with him in it! They all dance around it until it explodes, leaving only Satan and his sacks of stuff.
Amusing, stop-motion trick photography is the purpose here, with not much else involved, filmed from one stationary angle; its painted backdrops, which Caligari perfected some years later, are quite good.
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